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As the 18,000 fans gathered at Mexico City’s Arena Ciudad de México on Feb. 14 screamed at deafening levels, the duo Los Temerarios ran onstage — Adolfo Ángel from the left, Gustavo Ángel from the right — and embraced briefly but fiercely upon meeting in the middle of the vast platform.
Then, Adolfo, 60 — dressed in black pants and shirt and light blue jacket — took his customary place behind an array of keyboards while frontman Gustavo, 55, dressed in a shining black and red embroidered jacket, picked up his microphone.
Without preamble, he sang the first notes of the first song of the brothers’ last tour, Hasta Siempre (Until Forever).
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After more than four decades together, 41 entries on Billboard’s Hot Latin Songs chart and an astounding 46 entries on Top Latin Albums — more than any other Latin act in history — Los Temerarios is calling it quits.
“Tomorrow is the beginning of the end of an era for Temerarios,” Adolfo says over a bottle of wine in Mexico City the night before the tour opens, his eyes welling up with tears, in his first and only interview since the group’s announcement of this finale. “I’m a little sensitive,” he adds with a soft, embarrassed laugh.
Adolfo, the “big” Temerario, is over 6 feet tall and brooding. It’s not unusual to see him get emotional. After all, this is a group whose career has quite literally been built on love songs, all penned and produced by Adolfo since he was a teenager doing music with younger brother Gustavo, the dashing, charismatic singer with the high, expressive tenor.
But during a U.S. tour in August, Los Temerarios made a surprise announcement on social media:
“With the love that has united us since we were kids, the same that we feel for the vocation that we’ve had the privilege of working in for more than 46 years, we want to share that we’ve made the difficult decision of separating, closing one of the most important and gratifying cycles of our lives,” the brothers wrote. “Everything we express from this moment on will be in the form of music and in our next shows where we’ll be giving you the best of us.”
Los Temerarios’ Hasta Siempre tour played CDMX Arena in Mexico City on Feb. 16.
Virtus Music
On the eve of their farewell tour, Adolfo stayed true to his statement, refusing to further explain the group’s split except to say they were ending Los Temerarios at Gustavo’s request and that things were not just amicable, but brotherly.
“My brother and I were clear that [beyond the statement] we were keeping things between him and me, and I want to respect that, and I’m sure he does, too,” Adolfo says. “We will finish this tour, each of us will go our own [professional] way, and I will always wish my brother the very best.”
For now, they’re making good on their promise to fans by bringing their best to the stage. On Feb. 14, backed by their longtime five-piece band, Adolfo and Gustavo performed for well over two hours as the crowd sang along. The brothers sold out five consecutive nights, a record for the venue.
“Having a single artist play five consecutive sold-out [shows] goes beyond anything we’d done before,” says Alejandro Arce, general director of tour promoter Zignia Live, which also owns Arena Ciudad de México. The promoter initially announced nine tour dates across Mexico for Los Temerarios, “and sales were extraordinary,” Arce says. The group hadn’t toured the country in over a decade, and the response has been phenomenal, spurring the addition of three more dates at the Mexico City arena (for a total of over 120,000 tickets sold), as well as three sold-out dates (30,000 tickets) at the Arena Monterrey. Not that any of this was a surprise. Last year, the group grossed $12.3 million and sold 125,000 tickets to 14 shows, according to figures reported to Billboard Boxscore.
All told, in 2024, Los Temerarios will play over 50 arena and stadium dates across Mexico, Central America and the United States — including Madison Square Garden in New York and two nights apiece at Houston’s Toyota Center and Chicago’s Allstate Arena, with more cities expected to be announced. The U.S. leg of the tour is promoted by Zamora Entertainment and, for West Coast dates, in partnership with Frias Entertainment.
“Los Temerarios is a group that has transcended generations,” Arce says. “Very few groups in this genre can fill stadiums. It opens this kind of music, which is completely different and with a completely different message, to new generations.”
The duo won the top Latin albums artist of the year honor at the 2005 Billboard Latin Music Awards.
Rodrigo Varela/WireImage
The duo performs wistful and passionate love songs with arrangements that veer from very traditional Mexican — cumbia, ranchera and the keyboard-heavy sound associated with Mexican romantic groups — to sophisticated pop, a duality the band uniquely achieved in its sphere.
Originally launched along with a cousin in the late 1970s as Grupo la Brisa, the group was always spearheaded by Adolfo, the budding keyboardist-composer who penned songs for his brother. Their romantic grupera musica was beginning to surge in Mexico, with dozens of romantic groups, including Los Bukis and Bronco, gaining traction. Los Temerarios had an additional asset: the entreprenurial Adolfo’s keen business sense.
He eventually changed the duo’s name to Los Temerarios and started releasing music on his own label, AFG Sigma Records, in 1989 while also promoting the band’s shows. That DIY approach served the group well. Save for a brief moment at the very beginning of Los Temerarios’ career, the brothers have always licensed albums as opposed to signing with a label, keeping the rights and control over their masters. As for Adolfo’s publishing catalog of hundreds of songs, it has always been administered by their own publisher, Virtus, the successor to an earlier company, ADF, set up in 1989. This year, the group is signing its first publishing administration deal, with Kobalt.
Twelve years ago, the brothers went completely independent, launching their own label, also named Virtus, and taking over their own promotion and marketing. Their cousin Mayra Alba, who has a master’s in music management from the University of California, Berkeley, has managed them since 1996.
“Their music doesn’t stop evolving,” Alba says. “As artists, they’ve done what they want yet have continued to be authentic, connecting with a multigenerational audience and reaching every possible milestone.”
The results speak for themselves. In addition to its record number of entries on Top Latin Albums, the band has placed 41 tracks on Hot Latin Songs since 1990. Of those, 17 went top 10 and four hit No. 1.
On Latin Airplay, the group has 15 top 10s and four No. 1s, and on Regional Mexican Albums, its 47 entries best those of any group. Los Temerarios is one of only five acts to have achieved eight No. 1s on Top Latin Albums. Only two acts, Marco Antonio Solís and Luis Miguel, have achieved more (12 and nine, respectively).
The steadiness of the group, which has been performing since 1980, made the news of its split even more surprising. And yet, so far, Los Temerarios’ farewell tour has been joyous — and has garnered an overwhelming response.
For these shows, Los Temerarios upgraded the production, adding sophisticated visuals, courtesy of longtime collaborator and video director Carlos Pérez. And aside from Gustavo’s vocals, Adolfo, for the first time, is also singing a short set of songs. It may be a harbinger of what’s to come.
“I’ve never been afraid of experimenting. Then all these energies come in and try to say no to you, but I never listen to that,” Adolfo tells Billboard. “I listen to my heart. I’ve discovered that’s the key: Listen to your heart.”
I would love to hear the story of how you got your first record deal as a teen.
Yes. It was a time of dreams. A time when you saw a lot of artists and groups that inspired and motivated you and you wanted to get to those same stages and take a positive message to the hearts of those who heard you. I went to every single label at the time, and they all said no. I would take our little demos, and they would all say, “This is all very good. Come back in February.”
And then it was March. So, since no one wanted us, we decided to make our own albums, using our gig money. I’d take [our own records] to the radio stations and say I was the radio promoter. I was a teenager. I’d sit there for hours, and sometimes they would see me, sometimes they wouldn’t. I’m not complaining. It’s part of something that now I understand had to happen.
I also took the records to the record store, on consignment. If they sold them, they paid me; if not, I had to pick them up. And when we started to sell 5,000 copies and I had to say, “Hey, send me another thousand,” the people from Sony — CBS then — came over and we signed a contract. Didn’t even look at it. Just said “Órale” [“OK”] and signed. That was around 1983.
You began your career by hustling and doing everything on your own, and now, as a superstar, you’re still independent.
Yes, and that has been important, positive for our career. It made us learn and took us down a road that has been a great gift. Because in the beginning, we knocked on doors and they’d say, “Come back next year.” Until I realized that we had to do it ourselves. And I did it.
Adolfo Ángel of Los Temerarios perform during their Hasta Siempre Tour at CDMX Arena in Mexico City on Feb. 17.
Virtus Music
Did you have a mentor?
No. It was always the desire to make it [that motivated me]. And I would look for the way. I’d pick up the phone and find the label, find the radio station. Then I would get in the pickup truck and drive wherever I had to go. And finally, it would happen. Little by little we became known, at least in our area.
But my dad was a very important example in my life. He still supports me. Without my dad, it would have been much harder, because he loves music. For example, when we had to work the fields and I didn’t want to go, I would pretend I was asleep. And when they were all gone, I’d go look for my music teacher in Fresnillo, Zacatecas, and the next day, my dad wouldn’t say anything. He allowed me those peccadillos. He bought me my first keyboard, a red organ. And then, when I outgrew it, he bought me the new model.
Early in your career you launched your own publishing company, and now you’re signing your first administration deal, with Kobalt. Have you considered selling your catalog?
No. My songs have a very special value. It’s not just the money. If I can take them by the hand the way I think is best — these songs that came from my heart — well, I’d rather do that than give them to someone in exchange for a check. That’s not what I want to do. At least not now.
A decade ago, you were on top of the world with chart success. You last released an album in 2015, then the pandemic interrupted your cycle. What did you do?
We were always doing something. Even though we haven’t released a full album of new songs since 2015, we have a few singles. I’ve always been patient in recording. We usually put out new albums every four, five years. I always thought the quicker you recorded, the quicker your fans got tired. I still think that, even in the era of TikTok. That’s why there’s so much space between albums. And resisting that pressure has given us results, even when people start to say things like, “Hey, I don’t hear your songs.”
The industry has changed, and now the cycle of releases is very fast. Did that worry you?
Some artists release songs every week, every two weeks, but I don’t think those songs transcend. They’re very ephemeral successes. I believe that if you give [the process] respect, if you take the time and make a great production and you feel satisfied with it, very great things can happen. Maybe something works on TikTok with the chorus for a little bit, but I don’t think that’s the path. I like things the old-fashioned way, where you go to the studio, you have a great console, you record a great production with the best engineers and the best musicians and not only with a computer. That’s the music I like to make, that lifts my soul.
Gustavo Ángel of Los Temerarios perform during their Hasta Siempre tour at Arena Monterrey in Monterrey on March 1.
Virtus Music
Your music is romantic by definition. Are you dismayed at how some artists today portray love in their lyrics?
Not dismayed, but I was surprised to hear how music is being used to denigrate women. That had a big impact on me because I do the opposite. I try to say beautiful things about the most beautiful being in the universe; or at least, in my universe. But I respect everyone, and every artist will do their own thing. Me, I’ll continue writing my love songs, and I prefer to make a woman feel like a queen or a princess rather than something else. Maybe I’m being cheesy, but I like that. But I’m not criticizing anyone. Everyone does their own thing.
You wrote a lot during the pandemic, and most of the songs haven’t been released. Now that you’re splitting up, what do you plan to do with them?
I wrote them for us, thinking of my brother, of course. Even when I write on the piano or guitar, I do so in my brother’s tone, which is a higher range than mine. Then, when my brother decided he no longer wanted to be in Temerarios, the songs were put on pause. I don’t know what I’ll do with them. But now, we’re going to finish this tour, everyone will go their own way, and I will always wish my brother the best in life. I think my brother is a very talented man, he has a lot of charisma, people love him a lot, we have had a great career together, and we have the affection of the audience, both of us. He’s going to do very well in whatever he decides to do, and I’ll continue making my songs as long as I can.
Are you working on a solo album?
I am not. I love to sing, but I never used to do so onstage. Because I always felt very comfortable behind my keyboards, with my brother in front. Behind the keyboards I can tell you a story, talk with you; it’s like a protective cape where you feel very comfortable. That’s the way it was, for decades. Then, on this tour, I said, “OK, I have to do it.” And I sing a set of three songs. The only intent is to respond to the audience’s love. And I liked it. A lot. Now I feel very comfortable. But, right now, I’m always writing. I feel most happy and comfortable writing for Temerarios. And if my brother isn’t there anymore, I’ll think about doing it for myself.
What would you like your legacy to be for Mexican music and Latin music overall?
I feel we’re leaving behind a beautiful message for everyone who has ever listened to us, and that’s enough for me.
This story originally appeared in the March 30, 2024, issue of Billboard.
Billboard’s Latin Music Week, the most prestigious and longest-running week dedicated to the celebration of Latin music, will return to Miami this October.
Set for Monday, Oct. 14 to Friday, Oct. 18, Latin Music Week 2024 brings together top and emerging Latin music artists and executives from around the world for a week of showcases, networking, exclusive conversations, panels, workshops, activations and concerts.
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The event, which last year featured superstar Q&As with the likes of Shakira and Fonseca and in-depth panels anchored by Peso Pluma, Wisin, Fuerza Regida, Young Miko, Nicky Jam, Arcangel, Ivy Queen and Myke Towers, among others, is known as the top gathering place for the most influential and impactful artists today, both established and emerging, as well as the ultimate meeting ground for top music executives.
“We’ve created the single most important event in Latin music and the only gathering place for top artists to come together in art, conversation, and creativity,” says Leila Cobo, chief content officer of Billboard Latin/Español. “We’re thrilled to be returning to Miami to celebrate this over three-decade-long legacy, and we look forward to announcing this year’s roster of superstars, executives, and rising talent.”
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Over 5,000 registrants attended last year’s event, which featured over 50 artists, 40 artist and executive conversations, panels and workshops and more than 50 executives in an unprecedented five days of activities.
Marquee panels included Latin Music Week’s now-iconic Women’s Panel and “Making the Hit Live,” which last year featured Pedro Capó and Carin León, who wrote a song live that was released on Sony Music.
To see an overview of last year’s events, look here.
Programming will be expanded in this 2024 edition to accommodate audience demand.
Registration and additional details will be released in the coming weeks, with official registration opening soon and special rates available for returning attendees and students. Latin Music Week is expected to sell out, as it has for the past 10 years. For real time updates please visit BillboardLatinMusicWeek.com.
Miami experienced a full night of Merengue classics and Vallenato on Saturday (March 30) with Baila Conmigo Fest, an event organized by CMN where more than 8,000 people of all ages came together at the Miami Marine Stadium on Virginia Key, Fla.
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Baila Conmigo Fest’s diverse lineup included several merengue legends, such as Sergio Vargas, Proyecto Uno, Ilegales, Kinito Méndez, Eddy Herrera, Rikarena, Fulanito, Diveana, Puerto Rican Power and the legendary Colombian vallenato group Binomio de Oro.
Manuel Correa, executive of CMN and festival director, expressed his excitement about the accomplishment of holding the festival in Miami. He mentioned that it was a significant challenge, but CMN was confident that the music and artists would find a place in people’s hearts, knowing that fans were waiting for the perfect moment to reconnect. See below some highlights from the festival.
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The Golden Age of Merengue
Latin pride was celebrated on a nostalgic night filled with hits from the 80s, 90s and the 2000s, connecting several Latin American countries.
Kinito Méndez’s set wouldn’t have been complete without him singing “Cachamba” and “El Baile del Sua Sua,” one of the great classics. Eddy Herrera sang “Pégame Tu Vicio,” “Tu Eres Ajena” and “Carolina,” which were some of the favorites of the night and Sergio Vargas gave an impeccable voice performance navigating between classics such as “La Ventanita,” “Vete y Dile” and more.
Ilegales and Proyecto Uno Take Fans on a Nostalgic Trip
As part of their sets, both tropical groups delivered merengue-packed performances, adding a fusion of metal sound with electric guitars to their hits “La Morena” and “Taqui, Taqui.”
The incredible night was closed by Proyecto Uno, who wrapped the show with a bang. They had a giant inflatable shark on stage and fresh guitar arrangements for their songs “Está Pegao,” “El Tiburón” and the sweet classic “25 hrs,” among others. To everyone’s surprise, singer-songwriter Mark “The Mad Stuntman” also appeared as a special guest and performed “Latinos” alongside Proyecto Uno. He also performed his smash hit “I Like to Move It.”
Punctuality and Impeccable Event Logistics
Last but not least, the event logistics were exceptional, ensuring a seamless and energetic experience for all attendees to enjoy music in a family-friendly environment.
Karol G is making waves with her Mañana Será Bonito stadium tour. Following her successful stint in the U.S., she’s now captivating audiences across Latin America, accompanied by a slew of surprise guests and special invitees on many stops.
The tour began Feb. 8 at Mexico City’s renowned Estadio Azteca, where Karol shared the stage with 2024 breakout star Xavi, who performed his No. 1 Hot Latin Songs hit “La Diabla.” The Colombian hitmaker achieved a historic milestone as the first female artist to sell out the iconic Mexican stadium for three consecutive nights, drawing an impressive 80,000 attendees each evening.
She also performed in the Mexican cities of Monterrey, Guadalajara, as well as in Guatemala City and San José, Costa Rica. In the latter city, she shattered Coldplay’s record by selling 104,686 tickets across two sold-out nights (March 9-10), marking the highest ticket sales ever for a concert in the country.
In Santo Domingo, Dominican dembow artist Ángel Dior and Puerto Rican star Justin Quiles joined Karol onstage to perform “Ojos Ferrari” from her tour’s namesake album. And during her two-day stopover in Venezuela, the superstar surprised her fans with a reunion of Servando and Florentino, with whom she made an emotional trip down memory lane, to Salserín, a youth salsa orchestra. The Colombian singer and the Venezuelan brothers performed the 1996 salsa hit “De Sol a Sol” in front of 50,000 people.
Her tour will continue to make stops in Bogotá, Santiago and Buenos Aires and conclude in Asunción, Paraguay, at Estadio La Nueva Olla on May 2. However, the journey doesn’t end there. Karol will begin her European stint right after, launching on June 8 in Zurich, Switzerland.
As La Bichota’s Mañana tour continues, keep an eye out for the list of performers (surprise or not) from her Latin American leg below, including some opening acts, in alphabetical order.
Ángel Dior
On Monday (April 1), Interpol announced a free concert at Mexico City’s Zócalo slated for April 20. It will be, according to a press release, the biggest show the New York band has ever played in their career.
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“We are absolutely electric with excitement to announce that we will be playing a free concert for our Mexican fans — and fans from all over for that matter — at the Zócalo in the heart of Mexico City on Saturday April 20, 2024,” the band wrote on their social media in both English and Spanish. “It’s a dream for us to be able to perform in such an iconic and historic setting! We are gonna give it some ganas, so be there or be square as they say. More information to follow soon.”
https://twitter.com/Interpol/status/1774851731114905612
The announcement was also made by the government and the secretariat of culture of Mexico City in a press conference and on social networks, causing excitement among fans online. “On Saturday, April 20, the Zócalo welcomes Interpol, a post-punk band formed by Paul Banks, Daniel Kessler and Sam Fogarino,” the post reads. “Come sing iconic songs of this New York band like ‘C’mere’ or ‘Evil’ in the Zócalo.”
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This is the second massive show announced so far this year in the Primer Cuadro of the city, following Mexican-American artist Julieta Venegas’ gig on March 16 to commemorate International Women’s Day, when she drew some 80,000 fans to the venue, according to figures from the capital’s authorities.
Interpol’s show in the Zócalo was a rumor that circulated for at least two years, when the group came to the Mexican capital to promote their 2022 album The Other Side of Make-Believe, and even visited the Museum of Mexico City.
“The concert will be an opportunity for Interpol to give back to their long and dedicated Mexican fan base for their unconditional support over the years,” the band’s press office in Mexico said in a statement, referring to the performance as “the biggest show of their career.”
Mexico City’s Zócalo, where international artists such as Paul McCartney, Rosalía and Roger Waters have performed, is the country’s main public plaza, and the second largest in the world after Tiananmen Square in Beijing. So far, the group with the largest attendance in the Zócalo has been the Argentine band Los Fabulosos Cadillacs, which in June 2023 gathered 300,000 concertgoers, according to official figures, taking the record away from Mexico’s Grupo Firme, who in September 2022 gathered 280,000.
Interpol, the trio formed by Paul Banks (vocals and guitar), Daniel Kessler (bass) and Sam Fogarino (drums), has found its most loyal audience in Mexico. Banks, who lived and studied in the Mexican capital many years ago when his father, a top executive in the automotive sector, was temporarily transferred to Mexico, has talked about the loyalty of the band’s Mexican fans on several occasions.
The “Evil” and “Obstacle 1” musicians have headlined festivals such as Corona Capital Mexico City in 2019 and Corona Capital Guadalajara in 2023. Last year, they participated in The World Is a Vampire festival alongside the Smashing Pumpkins at the Foro Sol in the Mexican capital. A year earlier, they performed a concert at the Palacio de los Deportes to present their album Marauder.
Formed in New York in 1997, Interpol quickly rose to fame with their unique blend of post-punk, shoegaze and dark wave influences. Their debut album, Turn on the Bright Lights (2002), was critically acclaimed, establishing the band as a major force in alternative music. Over the course of their career, Interpol has released seven studio albums, including The Other Side of Make-Believe.
Shakira and Cardi B are currently making the rounds with her collaboration “Puntería,” part of the former’s latest album, Las Mujeres Ya No Lloran.
The feel-good pop song with flirty lyrics finds the two artists singing about a man who’s not good for them, but his game is so strong, they’ve fallen for him.
“Puntería” (which translates to “aim”) was born after the two artists met at the Fendi show during Paris Fashion Week. In an interview with each other, during the music video shoot, they elaborated on their first collaborative effort.
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“I wanted to do something with Cardi. We were always discussing internally if it was a good idea to put someone on this song. I always pictured Cardi in this song. I reached out, and here we are,” Shakira said. “It’s been so fun to work with you. It’s so easy, honestly. She’s like, ‘I’ll do everything.’ I’m like, ‘Are you ready to work long hours? Because I work long hours.’ She’s like, ‘I’ll be there from 6 to 6 a.m.’”
After admitting she manifested to work with Shak, Cardi B gushed: “I knew it. I knew this day would come. It came. God is good, Jesus. I don’t care if she wants me to meow — I’m doing it. I cannot wait. Seriously, that is my dream.”
Below, check out the complete lyrics translated into English:
[embedded content]
[Intro: Shakira]You have good aim You know where to target me so that I can surrender, surrender
[Pre-Chorus: Shakira]You have style to call my attentionYou throw darts at me that go straight to my heartOh, and as many times as I tryOh, it’s impossible to avoid you
[Chorus: Shakira]You have good aim You know where to target me so that I can surrender, surrenderYou attack me where it most hurts, you don’t suit meBut either in your bed or mine, I forget about all that
[Verse 1: Cardi B]You, you got me stressin’, thinkin’ ’bout sexin’Baby, keep me companyGive me your fire, squeeze my butt although you’re not the one for meI got the night, night, put a man right to sleepYeah, I’m pretty lil’ thing from face to feetI’m from the Bronx (Bronx), but I got a Georgia peachI got a empanada, mama, that he love to eat (Muah)A wolf like Shaki’, you’re my tigerBite me hard, don’t forget about this booty
[Chorus: Shakira]You have good aim You know where to target me so that I can surrender, surrenderYou attack me where it most hurts, you don’t suit meBut either in your bed or mine, I forget about all that
[Verse 2: Shakira & Cardi B]Where he puts the eye, he puts the bulletHe shoots the target and I fall as if nothing But if you steal two kisses from meI won’t even think about the third one I’m indecisive all nightAnd wake up with shirtNow I don’t know if I even want to stopYour hands melt me, your lips drug meYour biceps drive me crazyI never direct you, you always go straightTo my G-spot
[Chorus: Cardi B & Shakira]You have good aimYou know how to last, the other ones stay without batteryHe throws darts at me and it doesn’t suit meBut I love it if he has it insideI get kinky for you, I know that Cardi B will never leave your mind
You have good aim You know where to target me so that I can surrender, surrenderYou attack me where it most hurts, you don’t suit meBut either in your bed or mine, I forget about all that
Romeo Santos is alive and well after rumors about him being hospitalized due to a heart attack circulated on the Internet over the weekend. In an official statement posted to his X account, the King of Bachata addressed the rumors—and indicated he knows who started the gossip. Explore Explore See latest videos, charts and news […]
When brothers Oscar and Jesús Flores launched the first-ever of Pa’l Norte in 2012 in Monterrey, Nuevo León — under Apodaca Group, their father Oscar Flores Elizondo‘s entertainment and promotion company — they figured it would be a one-time thing.
“We thought it would happen once, and then we’d just move on with our other projects,” Oscar says. He, along with Jesús and their sister Blanca, comprise the leadership of Apodaca alongside their dad, who founded the company in 1978 as Representaciones Artísticas Apodaca. At the time, the brothers were young executives and, as much as they liked their dad’s business, they wanted to put their own stamp on it. “My brother and I had never produced a festival when we decided to launch Pa’l Norte; fun fact, we had never even attended a festival in our lives,” Oscar says with a chuckle.
But even if it was a one-hit wonder, they wanted to give it a shot in hopes of diversifying the company’s roster of live music events. Apodaca was, and still is, a leader in the regional Mexican scene producing several shows and concerts for that genre in Monterrey, where the company is based. So, the brothers — taking the years of experience they already had working under their father — decided the company’s first festival would be a rock-only lineup. The first edition, Pa’l Norte Rock Festival, a one-day event, featured artists like Calle 13, Carla Morrison, Kinky and Zoé.
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Even with hiccups along the way, including being understaffed and a hailstorm the day before which they thought would cancel the event, they pulled through. And, unlike today, the event didn’t have a lot of support from sponsors, even with the Apodaca name attached to the festival. It was also at a time when the city, located in a state that borders Texas, was recovering from a brutal wave of murders linked to organized crime. Which is not to say Monterrey is a crime-less city today — but although organized crime is still a major concern in the city, it has not affected the festival in its 12 years. Its security plan includes city and state police officers (Fuerza Civil) inside and outside the festival, plus private security.
When Pa’l Norte first launched, Monterrey — an important commercial entry port between the Northeastern region of Mexico and the United States — was also on its way to becoming a modern economic region exploding with tech innovation. “It was like the perfect musical symphony,” says Francisco Orozco, professor at the school of business at the prestigious Tecnológico de Monterrey. “There was a political change in the city that opened doors for these types of events to happen and people gained the confidence and courage to leave their homes again. We proved we weren’t just bullets.”
Three years into the festival, Oscar and his brother dropped the rock-only label because “we wanted to grow and bring more commercial artists,” says Oscar (the festival also adopted the slogan “Siempre Poderoso y Ascendente,” or, “Always Powerful and Ascendant”). They also scored a partnership with concert promoter OCESA, which Live Nation acquired in 2021 for $416 million, doubling down on their efforts to expand their reach. “OCESA has been a great ally that has supported us a lot,” Oscar says. “We are partners in many festivals, but this partnership was key for Pa’l Norte because together with them, we were able to grow in many areas such as sponsorships, international artists.”
The now re-branded Tecate Pa’l Norte — after landing a major sponsorship deal with the beer giant — has gone through massive changes, which has led to its global appeal. “Apodaca has been very meticulous with their alliances, from the beer industry to teaming up with the ministry of tourism to have hotels and transportation available when the festival takes place, [and] also partnering with airline Viva Aerobus for sponsorship,” Orozco says. “It’s a business model that works. They know the importance of allies and that’s why the festival has grown the way it has.”
Today, it’s the “most important musical event in Northern Mexico,” according to Nuevo León’s Ministry of Tourism. “Every year we are talking about more than 75% hotel occupancy derived from Pa’l Norte, but this year will be much more special because it coincides with Easter,” the government agency told Billboard in a statement. “Throughout these 12 years, it has positioned itself not only to impact the creative industries in Nuevo León, but also as one of our most important economic and tourism engines. This year we estimate a revenue of close to 750 million pesos (approximately $46 million U.S.).”
Pa’l Norte’s three-day event now has nine stages that gathers 100,000 people per day at the emblematic Parque Fundidora (before, the capacity was 37,000 when it started at Parque Diego Rivera). Its lineup has evolved from genre-specific to super-eclectic with past headliners including Billie Eilish, Foo Fighters, Caifanes, Maná, Tame Impala, The Killers, Los Fabulosos Cadillacs and 50 Cent. This year’s edition was headlined by Peso Pluma, Blink-182, Imagine Dragons, Maná and Fuerza Regida.
“At the end of the day, promoters are looking to have the most popular acts on their lineup,” says Alan David Robles-Soto, director of the music production program at Tecnólogico de Monterrey. He’s also a guitarist who’s performed alongside Mexican bands like Jumbo and División Minúscula. “It’s the same case with Coachella: it used to be a rock festival and then it wasn’t. It’s in the promoter’s best interest, they want to push sales and the ones who are going to sell are bands like Blink-182.”
Pa’l Norte is perhaps Mexico’s biggest, and most diverse, music festival, though other major events like Vive Latino and EDC Mexico (both produced by OCESA in Mexico City) also move significant tickets: The former had a total of 160,000 attendees this year, while EDC Mexico had 200,000 people in attendance for its 2023 edition. Meanwhile, the Machaca festival, also in Monterrey, gathered 65,000 last year, according to local reports, and the Baja Beach Fest in Baja California (which went from six days to three) draws in a daily capacity of 35,000.
“The importance that Mexico has in Latin America in terms of income in the sub-sector of live music is noteworthy,” Orozco says. “Artists are not only performing in Mexico City or Monterrey but also in other states where we did not imagine artists would go. They understood that people are willing to spend a lot of money for these experiences. Geographically and logistically, the country, which borders the U.S., is in a very important spot for them as well.”
Producing more than 600 shows a year, including 15 festivals across the country, Apodaca now has several divisions under its umbrella, including booking, distribution and management. With Pa’l Norte, the goal is only to become more global and, in the future, Oscar hopes to add a streaming option to expand its reach and potentially turn it into a two-weekend event, à la Coachella. For now, he’s pleased with the festival’s growth over the past 12 years and the impact it’s had on the Mexican state.
“As citizens of Nuevo León, we are very proud that Pa’l Norte is a source of work for restaurants, hotels, taxi drivers during that week,” says Oscar. “At the festival, we have more than 10,500 people working per day; generating that number of jobs fills us with pride. We want to keep impacting. The slogan says it all [always powerful and ascending].”

Maná made its grand return to Tecate Pa’l Norte on Sunday, March 31 after headlining the festival in 2017.
The iconic Mexican rock band took the Tecate Light stage at 8:30p.m. to a sea of fans that crowded around the main stage. “Monterrey, Monterrey, Monterrey. What a great night, we missed you so much,” the band’s frontman, Fher OIvera, said. “Historically, Monterrey has been a strong connection for Maná. We have performed many concerts here since we launched our career and would sing at nightclubs and now look at how many people are here,” he added, acknowledging the festival’s 100,000 in attendance.
As in all of their shows, Maná gives fans exactly what they want, sticking to a setlist that includes the songs — many of which turned into anthems throughout the years — that made them Latin America’s favorite rock band. And you can always count on the band to perform all its hits, taking old and new fans alike down memory lane with songs like “Vivir Sin Aire,” “Oye Mi Amor,” “Me Vale,” “En El Muelle de San Blas” and “Rayando El Sol.”
You can also always count on Olvera’s candidness. “Se nos está colando el reggaetón aquí y eso no está chido (which loosely translates to reggeatón is spilling over and that’s not cool). So, you have to sing really loud so we don’t listen to that over here,” he said, making it very clear, once again, that he’s not the biggest reggaetón fan (which he mentioned in Maná’s February Billboard Español digital cover story).
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Between songs, Olvera also encouraged fans to vote for the politicians who “know how to protect Earth.” And to leave behind a clean planet for the next generation. A message that aligns with their efforts to flight climate change. The poignant words preceded its socially conscious “¿Dónde Jugarán Los Niños?” song from the ’90s.
Maná’s setlist also included other hits like “Manda Una Señal,” “Corazón Espinado,” “Ángel de Amor,” “Labios Compartidos” and “Mariposa Traicionera.”
The third and last day of the festival also featured sets by Santa Fe Klan, Mario Bautista, Lola Índigo, Gale, Álvaro Díaz, Enanitos Verdes, Elena Rose, The Warning, and Imagine Dragons, the main stage closing act. Meanwhile, Fuerza Regida closed out the Tecate Original stage.

Laura Pausini made her world tour stop at the Kaseya Center in Miami on Saturday (March 30), delivering a retrospective of songs that celebrated her 30-year career.
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The Italian superstar, who effortlessly performs in three languages (English, Spanish, and Italian), kicked off her trek in her native country last December and will wrap the tour on April 6 at New York’s The Theater at Madison Square Garden.
At 8:40 p.m. Saturday night, Pausini arrived on stage wearing a black pantsuit topped with a sequined trench coat. Also wearing a coral-colored tie and gloves, she kicked off her show with “El Primer Paso en la Luna,” part of her 2023 album Almas Paralelas.
She then performed other songs off the new set, including “Durar,” “Un Buen Inicio” and “Todas Las Veces,” before greeting the packed venue, mostly of people above their 30s.
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“Thank you everybody. I’m so happy to be here. Of course this show would be 80 percent in Spanish because you changed my life. Bienvenidos a todos una vez más,” the artist said. “Tonight we’re here to look back at the 30 years of my career. This is a recap of the most significant songs and moments that I have experienced with you by my side. I will share videos that show what it’s like to live inside a dream.”
Immediately after, Pausini performed a medley with the “most personal songs of all my career.” Sitting at a piano, she explained that in 2010 she took a break from music to become a mother. She noted the challenges she faced as a then 35-year-old woman trying to get pregnant, and recalled writing a song to gain strength. It was later, during one of her tours, that she discovered she was expecting.
Pausini also shared a video of the day she proposed to her longtime boyfriend, and guitarist, Paolo Carta. The couple got married in 2023 after dating for 18 years and having their daughter.
In the midst of her compelling storytelling, she played the piano and performed the heartfelt songs “Así Celeste,” “Nuestro Amor de Cada Dia” and “Frente a Nosotros.”
Showcasing her musicianship, Pausini then switched the piano keys for an electric guitar and performed a rocking set of some of her biggest early 2000s hits: “Escucha Atento,” “Entre Tu y Mil Mares,” “Como Si No Nos Hubieramos Amado,” and “Volveré Junto a Ti” — all of which hit the Billboard Hot Latin Songs chart.
“When I was 18, this was empty,” she said, referring to the packed Kaseya Center. “I’m grateful that you are all here supporting me now that I’m an old lady,” she joked, this time wearing black boots and a metallic silver fringe top.
Throughout the concert, Pausini — who was The Latin Record Academy’s 2023 Person of the Year — performed other hits, including “Seen,” which nabbed the 2021 Golden Globe for best original song for Io Sì, “En Cambio No,” “Viveme” and “Amores Extraños.”
The biggest surprise of the night, however, was when Luis Fonsi joined the artist on stage for a powerful duet version of “Inolvidable,” which they completely improvised before Pausini wrapped her show with “Se Fue,” the 1994 bop that ultimately put her on the map.
“I invite you into my life through the songs I’ve written to tell you who I really am,” she said. “We are accustomed to judging each other on social media without knowing the truth. It’s me tonight with my reality.”